The document provides background information on the Khajuraho temples in India, known for their erotic sculptures. It discusses the origins and history of the temples, explaining that they were built between 885-1050 AD by the Chandela dynasty to depict human passions and sexuality as per the instructions in a dream. Approximately 10% of the sculptures contain erotic artwork, seen as representing tantric beliefs in balancing male and female forces. The document also provides context on the Rajput rulers who constructed the temples and their acceptance of sexuality as a natural part of life.

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Sex & Servitude inthe Chandela Dynasty Architecture
A Complete Guide to Eroticism of Khajuraho by Dr Uday Dokras
Also see https://drprem.com/travel/khajuraho-guide/
Khajuraho History and Religion- What led to the creation of Khajuraho temples?
Credit: Getty
Images
The Legand: As per the legends, Hemvati was a beautiful woman, after whom the
Khajuraho temples were built. One day, when she was bathing in a pool in Benaras, the

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Moon God was swooned by her beauty, and could not wait any longer to see her.
They conceived a child and named him Chandravarman. However, she feared that her
child might have to face harassment as he was born out of wedlock. She was so
distressed that she cursed the Moon God, who later prophesied that the child will
grow up to become a great king.
Just like the prophecy, the child indeed grew to become a great king, who founded
the Chandela dynasty. One day, after Hemvati passed away, her son saw her in his
dreams, where she asked him to construct temples that would depict human passions.
Khajuraho is believed to have been built in a relatively short period of time: over 100
years, between A.D. 950-1050. The complex consists of 22 temple structures from a
group of 85 original ones that were built. Forgotten for centuries, they were
rediscovered in the 1850s and restored. The temples were conceived and built under
the rule of the Chandela dynasty. As for the source of the name Khajuraho, it is said
the Chandela rulers built a huge wall around the temples. The wall had eight gates
flanked on either side by khajur or date palm trees, which is found in abundance in
this region. The temples were, thus, called khajura vatika, or bearing khajura.
According to UNESCO: “Khajuraho is one of the capitals of the Chandella rulers, a
dynasty of Rajput origin which came into power at the beginning of the 10th century,
and reached its apogee between 950 and 1050. Of the 85 temples which were
constructed at Khajuraho during the Chandella period (and which were still
resplendent: when the great traveler Ibn Battuta noted them in 1335), 22 still exist,
disseminated within an area of about 6 square kilometers. [Source: UNESCO World
Heritage Site website]
“The great “love temples” of northern India, including Khajuraho, were built in
the eleventh century by the Chandella dynasty...As, monuments of two distinct
religions, Brahminism and Jainism, the temples of Khajuraho are nonetheless
distinguished by a common typology: they comprise an elevated substructure, over
which rises the body of the richly decorated building, the 'jangha', covered with
several registers of sculpted panels on to which open-work galleries are opened. This
is crowned by a series of bundled towers with curvilinear contours, the Sikharas.
“The highest are found over the sanctuary of the divinity. Each of these towers, which
is characteristic of the temples in the Nagera style, symbolizes the 'cosmic mountain',
Mount Kailasha. The typical plan comprises an entrance, a large hypostyle hall
(mandapa), a dark sanctuary and finally various annexes.”
The Khajuraho Group of Monuments are a group of Hindu and Jain temples
in Chhatarpur district, Madhya Pradesh, India, about 175 kilometres southeast of Jhansi.

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They are a UNESCO World Heritage Site. The temples are famous for their nagara-style
architectural symbolism and their erotic sculptures.
Most Khajuraho temples were built between 885 AD and 1050 AD by
the Chandela dynasty. Historical records note that the Khajuraho temple site had 85
temples by the 12th century, spread over 20 square kilometers. Of these, only about 25
temples have survived, spread over six square kilometers. Of the surviving temples,
the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with
intricate details, symbolism and expressiveness of ancient Indian art.
Ancient Khajuraho, forming a part of the Bundelkhand Empire under the reign of
Chandela Rajputs was a progressive civilization. The people lived in a prosperous and a
well administered society. They had a high regard for the divine, were intellectually
sharp with a gift of talent that saw wonderful expression in temple decor and sculpting.
A. When these monuments were built, the boys in the place lived in hermitages, by
being brahmcharis (bachelor) until they attained manhood and these sculptures
helped them to learn about the worldly role of 'householder'. The Khajuraho
group of temples were built together but were dedicated to two
religions, Hinduism and Jainism, suggesting a tradition of acceptance and respect
for diverse religious views among Hindus and Jains in the region.
B. Sex formed an inseparable and significant part of their lives. They considered
themselves descendants of Moon as their first king Chandravarman was fathered
by the Moon god through physical union with a pretty Brahmin country lass
Hemvati hailing from the ancient city of Benaras.
C. Quarries rich with deposits of granite not very far from the spot where marvelous
temple architecture stand occupied the ancient sculptures, and the temple
designers with their regular feed of raw materials inscribed magic on rocks
incessantly. Inspiration and support provided by the Chandela nobility
encouraged the fire and imagination inside the stone artists. Their vision took a
finite shape and monuments of astonishing beauty were created.
D. Public display of sex in the shape of finely chiseled stone idols wasn’t a taboo at
all. Nor was their depiction directly on the outer body of sacred temples an act of
sacrilege.
E. The intent was deliberate. There was always an honest effort to establish a link
between acts of sex and the eternal cosmic design unfolding the secrets of
creation, propagation and continuity of the human race in the universe.

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F. The stone idols in the act of unification was a source of education to the young
children who lived as Brahmacharis (a total abstinence from worldly pleasures) in
hermitages under supervision and guidance of enlightened gurus or teachers.
G. They spent this part of their lives in hermitages and learned from the erotic
artwork about worldly pleasures which they are entitled to taste once they
attained adulthood. As if the temples were the laboratory of learning and the
nude statues formed the tools, specimens and equipment of demonstration.
H. There are various other theories about the existence of such graphic erotic motifs.
One of the more exotic ones propounds that since Chandela kings were followers
of Tantric principles, which dictate the balance between the male and female
forces, they promoted their faith in the temples they created. Tantrism is a
religious and philosophical movement appearing in India around 400 CE that existed
within both Hinduism and Buddhism. In medieval India, Tantrism was a common
element of all the major religions. Tantrism focuses upon ritual aspects that involve the
use of the physical in sacred and worshipful settings to access the supernatural.
Tantrism also can be traced to Jainism and Bön, and elements of Tantric practice are
also evident in Burma, China, Japan, Mongolia, and Tibet. The word Tantrism originates
from the Sanskrit word Tantra: Open image in new window which is translated
variously as “weave, warp, or loom,” offering a sense of bringing together or
connecting into a whole. Tantrism is comprised of numerous texts referred to
as Tantras. The primarily philosophy and goal underlying the practice of Tantrism is
that it promotes spiritual growth and leads to personal freedom.
I. Somebelievethedepictionofsexualactivitieswasconsideredagoodomen..
J. Other theories have to do with the role of temples themselves in those times:
they were considered places of learning as well as worship – especially of the
finer arts, including the art of lovemaking. In addition, some believe that the
depiction of sexual activities in temples was considered a good omen because it
represented new beginnings and new life.
Erotic art during the Chandelas of Bundelkhand has attained the apex of glory. The
stone sculptures engaged in paired or multiple sex acts have been so lively carved that it
has received attention from globally acclaimed art critics. It is not only the artistic skill of
the sculptor that has made these erotic statues immortal art pieces, it is the rich
philosophy that goes with it as well.

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The Hindu tantric cult had an influence on the lives of people. Their thoughts and
philosophies were motivated by a strong craving to unite with the cosmic elements.
They desired to freeze in stone different styles of intercourse between men and women
in singles and in group encounters on temples. There is an indication that a strong
desire existed among people towards spiritual liberation touching the divine. The ritual
of carnal acts formed the foundation for unification of humankind with the celestial
entities.
Raw Materials; Granite and sandstone were often the basic raw materials on which the
gifted sculptors worked with chisel until their dreams and visions were immortalized on
stone. Even animals found a respectable place in Khajuraho art ceremoniously displaying
intimate sexual acts carved on rocks beautifully. The animals were often spectators to an
act of sex between humans.
The expressions in their eyes are very suggestive indicating a right mix of mirth and
curiosity watching human beings in the most intimate pleasure-seeking action.
Sometimes the animal statues were made to participate in the act with human beings in
a graceful collaboration where the carnal pleasure is shared between two or more living
beings belonging to different species altogether.
Here we find the existence of an unmistakable look of intense pleasure that is reflected
from the animal’s eyes. It is a big and blissful ritual where everyone one is allowed to
participate and draw ecstasy. It tones the body, purifies mind and brings in all a sense of
accomplishment and an overwhelming feel-good sensation shared and enjoyed by all.
Tantric art. Clockwise from upper left: Vajrayogini (Buddhist), Sri Yantra (Hindu), Chakra illustration, Tibet
deity Vajradhara (Holder of the Thunderbolt) in maithuna, Kalachakra Mandala, Lalita Tripurasundari.

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Khajuraho temples are famous for their erotic arts. These constitute about 10% of total art displayed at the
monuments.
Erotic sculptures
The Khajuraho temples feature a variety of artwork, of which 10% is sexual or erotic
art outside and inside the temples. Some of the temples that have two layers of walls
have small erotic carvings on the outside of the inner wall. Some scholars suggest these
to be tantric sexual practices.[58]
Other scholars state that the erotic arts are part of the
Hindu tradition of treating kama as an essential and proper part of human life, and its
symbolic or explicit display is common in Hindu temples.[6][59]
James McConnachie, in his
history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the
apogee of erotic art":
Twisting, broad-hipped and high breasted nymphs display their generously contoured
and bejewelled bodies on exquisitely worked exterior wall panels. These
fleshy apsaras run riot across the surface of the stone, putting on make-up, washing
their hair, playing games, dancing, and endlessly knotting and unknotting their girdles.
Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most
notoriously, extravagantly interlocked maithunas, or lovemaking couples.
Over 90% of the artwork at the temple is about daily life and symbolic values in ancient Indian
culture.

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The temples have several thousand statues and artworks, with Kandarya Mahadeva
Temple alone decorated with over 870. Some 10% of these iconographic carvings
contain sexual themes and various sexual poses. A common misconception is that, since
the old structures with carvings in Khajuraho are temples, the carvings depict sex
between deities; however, the kama arts represent diverse sexual expressions of
different human beings. The vast majority of arts depict various aspects the everyday
life, mythical stories as well as symbolic display of various secular and spiritual values
important in Hindu tradition. For example, depictions show women putting on makeup,
musicians making music, potters, farmers, and other folks in their daily life during the
medieval era. These scenes are in the outer padas as is typical in Hindu temples.
There is iconographic symbolism embedded in the arts displayed in Khajuraho
temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes,
when seen in combination of sculptures that precede and follow, depict the spiritual
themes such as moksha. In the words of Stella Kramrisch,
This state which is "like a man and woman in close embrace" is a symbol of moksa, final
release or reunion of two principles, the essence (Purusha) and nature (Prakriti).
— Stella Kramrisch, 1976
ART FORMS of the RAJPUT
A Rajput (from Sanskrit raja-putra, “son of a king”) is a member of one of the patrilineal clans of
western, central, northern India and some parts of Pakistan. They claim to be descendants of
ruling Hindu warrior classes of North India. Rajputs rose to prominence during the 6th to 12th
centuries. Until the 20th century, Rajputs ruled in the “overwhelming majority” of the princely
states of Rajasthan and Surashtra, where the largest number of princely states were found.
The Rajput population and the former Rajput states are found spread through much of
the subcontinent, particularly in north, west and central India. Populations are found in
Rajasthan, Saurashtra, Uttar Pradesh, Himachal Pradesh, Haryana, Jammu, Punjab,
Uttarakhand, Madhya Pradesh and Bihar.
There are several major subdivisions of Rajputs, known as vansh or vamsha, the step
below the super-division jati. These vansh delineate claimed descent from various
sources, and the Rajput are generally considered to be divided into three primary vansh:
Suryavanshi denotes descent from the solar deity Surya, Chandravanshi from the lunar
deity Chandra, and Agnivanshi from the fire deity Agni. Lesser-noted vansh include
Udayvanshi, Rajvanshi, and Rishivanshi. The histories of the various vanshs were later
recorded in documents known as vanshaavaliis.

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Beneath the vansh division are smaller and smaller
subdivisions: kul, shakh (“branch”), khamp or khanp (“twig”), and nak (“twig tip”).
Marriages within a kul are generally disallowed (with some flexibility for kul-mates of
different gotra lineages). The kul serves as primary identity for many of the Rajput clans,
and each kul is protected by a family goddess, the kuldevi.
Map of Rajputana
THE MAIN LINEAGES
Rajputs who are descended from the thirty-six royal Kshatriya clans mentioned in the
sacred books, the Puranas, and in the two great Indian epics, the “Mahabharata” and the
“Ramayana”, are classified into three basic lineages (vanshas or vamshas):

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Suryavanshi: or Raghuvanshies (the clans of the Solar dynasty), descended through
Manu, Ikshvaku, Harischandra, Raghu, Dasaratha and Rama.
Chandravanshi:or Somavanshies (the clans of the lunar dynasty), descended through
Yayati, Deva Nausha, Puru, Yadu, Kuru, Pandu, Yudhisthira and Krishna.
1. The Yaduvanshi lineage are a major sub-branch of the Chandravanshi
lineage. Lord Krishna was born a Yaduvanshi.
2. The Puruvanshi lineage are a major sub-branch of the Chandravanshi
Rajputs. The Kauravs and Pandavs of the epic Mahabharata were
Puruvanshis.
Agnivanshi: The Agniculas (the clans of the fire dynasty), descended from Agnipala,
Swatcha, Mallan, Gulunsur, Ajpala and Dola Rai.
Each of these Vanshas or lineages is divided into several clans (kula), all of whom claim
direct patrilineage from a remote but common male ancestor who supposedly belonged
to that Vansha. Some of these 36 main clans are further subdivided into shakhas or
“branches”, again based on the same principle of patrilineage.
The 36 Royal Races (in no particular order):
1. Surya or Solar race
2. Sóm or Lunar race
3. Gáhlot or Grahilot
4. Yádu, Jádu or Jadon
5. Tuár or Tanwar
6. Rathore
7. Kachwaha
8. Parmara or Ponwar
9. Chauhan
10. Chaluk or Solanki
11. Parihara
12. Chawura
13. Tak or Takshak
14. Jit, Gét, or Jat
15. Hán or Hún *
16. Katti
17. Balla
18. Jhala
19. Gohil
20. Jaitwar or Kamari

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21. Silar
22. Sarwaiya *
23. Dabi *
24. Gaur
25. Dor or Doda
26. Gaharwal
27. Bargujar
28. Sengar
29. Sikarwar
30. Bais
31. Dahia *
32. Johya
33. Mohil
34. Nikumpa
35. Rajpali *
36. Dahima
Each shakha or basic sub-clan has its individual genealogical creed, describing the
essential peculiarities, religious tenets, and original domicile of the clan. This creed is a
touchstone of traditional affinities and provides all information governing the laws of
intermarriage.
Individual clans:
Rathore
Chauhan
Deora Chauhan
Hada Chauhan
Khichi Chauhan
Songara Chauhan
Bhati
Kachwaha
Katoch
Shekhawat
Sisodia
Tanwar
Parmar
Pawar
Barad Parmar
Umath Parmar
Jadeja

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Solanki
Jadon
Chandel
Badgujjar
Gaur
Baghela
Jhala
Gautam
Wadiyar
Chudasama
Chavda
Major Chandravanshi clans
Bachhal:
They claim their descent from a mythical personage called Raja Vena, Their earliest
settlements were in Rohilkhund, where they were the dominant race until 1174. It has
been suggested that the founder of the clan was Raja Bairat of Barkhar in the Kheri
district, who is said to have entertained the five Pandawas during their exile from
Hastinapur. The Bachhals of these early times were an enterprising race, and constructed
several canals, of which traces can be found to the present day. Bachhals are found
chiefly in the Bulandshahar, Muttra, Moradabad, Shahjahanpur, Sitapur, and Kheri
districts of Oudh and North-West provinces.
Bhati:
Bhati Rajputs are a Chandravanshi Rajput clan from the Jaisalmer region of western
Rajasthan. The Maharajas of Jaisalmer trace their lineage back to Jaitsimha, a ruler of the
Bhati Rajput clan. The major opponents of the Bhati Rajputs were the powerful Rathor
clans of Jodhpur and Bikaner. They used to fight battles for the possession of forts,
waterholes or cattle. Jaisalmer was positioned strategically and was a halting point along
a traditional trade route traversed by the camel caravans of Indian and Asian merchants.
The route linked India to Central Asia, Egypt, Arabia, Persia, Africa and the West. Bhati
Rajputs were proficient horse riders, marksman and warriors. Their reign spread to the
Punjab, Sindh and beyond, to Afghanistan. The City of Ghazni was named after a brave
Bhatti warrior. In Lahore, a monument exists to this day, which is called the Bhati Gate,

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named so probably because it opens in the direction of the “Sandal Bar”, an area ruled
by Rai Sandal Khan Bhati Rajput. They earned too much by imposing the taxes levies on
the passing Carvans.they were known as a great shooter with Gun.
Gotra: Atri
Ved:Yajurved
Kuldevi:Mahalaxmi
Bhangalia:The Bhangalia clan are the erstwhile rulers of Chota and Burra Bhangal in
Kangra District of Himachal Pradesh.
Chandelas: In the early 10th century, the Chandelas (Chandravanshi lineage) ruled the
fortress-city of Kalinjar. A dynastic struggle (c.912-914 CE) among the Pratiharas
provided them with the opportunity to extend their domain. They captured the strategic
fortress of Gwalior (c.950) under the leadership of Dhanga (ruled 950-1008).
Gotra: Chandatreya (Chandrayan), Sheshdhar, Parashar and Goutam
Kuldevi: Maniyadevi
Devta:-Hanumanji
RULING RAJPUT DYNASTIES OF INDIA
 Janjua Rajput Hindushahi dynasty (964-1026 AD): This dynasty ruled parts of
Afghanistan and Punjab. Jayapala was its first Rajput king who succeeded the last
Brahmin king Bhimadeva. Its last king Bhimpala died in 1024.
 Chauhan dynasty of Ajmer & Delhi : The Chauhans, ruled between 956 and 1192
AD, earlier over the eastern parts of the present day's Rajasthan with their capital
at Ajmer and later extended their territory up to parts of modern-day Punjab,
Haryana, Uttar Pradesh and Delhi. This Rajput dynasty was founded by Simharaj,
who is famously known as the founder of the city of Ajmer. Prithviraj Chauhan
was considered greatest of all Chauhan rulers. During his reign, the kingdom
extended over Delhi, Ajmer, modern-day Rohilkhand, Kalinjar, Hansi, Kalpi,
Mahoba etc. He conquered Bhatinda (in Punjab) from Ghaznavide ruler of Punjab
and defeated Muhammad of Ghor in the first battle of Tarain. However, he was
defeated in the second battle of Tarain, 1192.

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 Solanki dynasty: The Solankis established their rule over present day's Indian
state of Gujarat between 945 and 1297 AD. Their kingdom came into prominence
during the reign of Mulraj. They ruled with their capital situated at Anhilwara.
 Paramara dynasty of Malwa
 Parihara dynasty of Kannauj: Conquered Kannauj in 816 AD, which remained its
capital for about a century, declined in 10th century.
 Bargujar/Badgurjar dynasty of Rajorgarh: Conquered Dhudhar in 9000 BC, Rajor
remained its capital till declined in 10th century.
 Chandelas of Khajuraho: This Rajput dynasty was founded by Jayasakthi. They
ruled the areas across Bundelkhand with Khajuraho as their capital. The dynasty
came to an end after Alauddin Khalji conquered Bundelkhand.
 Gahadvalas of Kannauj: This Rajput dynasty ruled the kingdom of Kannauj for
around a hundred years, beginning in the late 11th century.
 Chand dynasty of Kumaon: Ruled much of Uttarakhand.
 Jarrals of Kalanaur and Jammu & Kashmir. Raja Nakashena established the state
Kalanaur and became the first king of Kalanaur, the Jarral dynasty ruled for 750
years.
 Katoch dynasty of Kangra: Ruled much of Himachal Pradesh and parts of Punjab.
 Bundelas of Bundelkhand: Ruled Bundelkhand from 16th century onwards.
 Tomaras of Delhi & Gwalior
 Pathanias of Nurpur: Ruled from 11the century to 1849 over parts of northern
Punjab and Himachal Pradesh.
 Sisodias of Mewar (Udaipur)
 Kachwahas of Jaipur
 Rathores of Marwar (Jodhpur & Bikaner)
 Jadejas of Kutch
 Hadas of Jhalawar, Kota & Bundi
 Bhatis of Jaisalmer
 Shekhawats of Shekhawati
 Dogra dynasty of Jammu and Kashmir
KHAJURAHO
Khajuraho (600 kilometers southeast of Delhi, 400 kilometers south of Agra) is
remote city famed for its erotic temples. The origin of the temples and the history

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of the Chandela dynasty that built them is not completely understood. But it is
known that at least 850 temples were built between A.D 950 and 1050 over a wide
area, of which 22 are still in fairly good shape. The city was built in such a remote
location so that it could escape the ravages of invaders.
What makes Khajuraho so interesting are the sculptures of gods, goddesses and
mortal in various love-making positions on the sandstone walls of the temples. In
one extraordinary bas-relief a man doing a headstand is shown getting it on with a
woman — held off the ground by a pair of large-breasted assistants — doings the
splits. The sculptures are considered to be some of the best examples of erotic
Hindu art in India. Most of the temples have two or three bands of these
sculptures.
Khajuraho is situated in Madhya Pradesh among the Vindhya mountain range and
features both Hindu and Jain temples. The stunning intricate sculptures depict
different aspects of life — spirituality, love, friendship, sports and royal life — as
well as sex. Khajuraho was designated a UNESCO World Heritage Site in 1987. The
complex of Khajuraho represents a unique artistic creation, as much for its highly
original architecture as for the sculpted decor of a surprising quality made up of a
mythological repertory of numerous scenes of amusements of which not the least
known are the scenes, susceptible to various interpretations, sacred or profane.
Chandelas
The Chandelas were the builders of Khajuraho. They ruled much of the
Bundelkhand region (then called Jejakabhukti) in central India southeast of Delhi
between the 9th and the 13th centuries. The Chandela or Chandel were a rajputs (a
powerful military caste). The Chandel dynasty is famous in Indian history for
Maharaja Rao Vidyadhara, who repulsed the attacks of Mahmud of Ghazni and was
behind much of the erotic sculptures at Khajuraho. The word Chandela is said to
have evolved from of Chandratreya, combination of two words indicating the
lineage Chandra vamsa and Atreya gotra.
The origin of the Chandelas is shrouded in mystery. A legend attributes their
descent to the union of the Moon (Candrama) with a Brahman damsel. This is
obviously an absurd myth, invented for giving the clan a noble pedigree. In the
opinion of Vincent Smith, however, the indications are that the Chandelas sprang
from the aboriginal stock of the Bihars or the Gonds, and their original seat was
Maniyagarh on the Ken river in the Chatarpur State. [Source: “History of Ancient
India” by Rama Shankar Tripathi, Professor of Ancient Indian History and Culture,
Benares Hindu University, 1942]

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The most important cities in the Chandela kingdom were Khajuraho, Kalanjara, and
Mahoba. Vincent Smith remarks: “The first-named town, with its group of
magnificent temples, may be regarded as the religious, the second, with its strong
fortress, as the military, and the third, with its palace, as the civil capital.” The
Chandelas beautified Bundelkhand by constructing a large number of exquisite
religious edifices and embanked lakes. One of the latter was the Madanasagara,
formed by Madanavarman at Mahoba.
The Chandelas came into prominence in southern Bundelkhand under the
leadership of Nannuka early in the ninth century. His grandson was Jeja or
Jayasakti, after whom the kingdom was called Jejakabhukti. It appears from
traditions and epigraphic testimony that the first few princes of the dynasty were
feudatories of the great Pratihara emperors of Kanauj. But Harsadeva Chandela
enhanced the prestige and influence of the family considerably by placing
Mahlpala (Ksitipala) on the Imperial throne in opposition to his brother or half-
brother, Bhoja II. During the reign of Yasovatman, the Chandelas gained a larger
measure of independence, and aggrandised themselves at the cost of their
neighbours, viz., the Cedis, Malavas, Kosalas, etc. According to an inscription, found
at Khajuraho, Yasovarman was “a scorching fire to the Gurjaras,” and that he “easily
conquered the fort of Kalanjara,” one of the important strongholds of the
Pratiharas. He is also said to have compelled Devapala Pratihara to surrender to
him a celebrated image of Vaikuntha (Visnu), which he subsequently set up in a
stately shrine at Khajuraho.
Chandelas Kings
Dhanga (c. A.D. 950-1002) was Yasovarman’s son and successor. Strangely enough,
however, he invokes the name of the Pratihara king (Vinayakapala II) as his
overlord in the Vikrama year 1011-954 A.D. It would, therefore, appear that like the
Nizam of the Deccan and the Nawabs of Oudh, who were virtually independent
and yet nominally acknowledged the suzerainty of the great Moghul at Delhi, the
Candel ruler did not all at once break off formal relations with the effete Imperial
power at Kanauj, but for some time maintained an outward show of submission.
Subsequently-, the kingdom of Jejakabhukti saw its palmy days under Dhanga, for
an inscription, discovered at Mhow, alleges that he attained to “supreme lordship
after inflicting a defeat over the king of Kanyakubja.” The success of the Chandelas
is confirmed by the Khajuraho epigraph, wherein we arc told that Dhariga ruled the
earth “playfully acquired by the action of his long and strong arms, as far as
Kalanjara, and as far as Bhasvat situated (?) on the banks of the river.Malava; from
here to the banks of the river Kalindl (Jumna), and from here also to the frontiers of
the Cedi country, and even as far as that mountain called Gopa (Gopadri), which is

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the unique abode of marvel.” The loss of Gwalior must have dealt a severe blow to
the fortunes of the Pratiharas, since thereby the Chandelas got hold of a strategic
position, which they could well use as a base for further encroachments. Indeed, it
is likely that towards the close of his reign Dhariga carried his arms up to Benares,
where he granted a village to a Brahman in the Vikrama year 1055-998 A.D. In 989
or 990 A.D. when Jayapala, the Sahi king, invited prominent Hindu states to help
him in resisting the aggressions of Sabuktigin, Dhariga, along with other
potentates, promptly responded with men and money, and shared the disaster
suffered by the confederate army.
Ganda was Dhariga’s son, Ganda. He joined the coalition formed by Anandapala
Sahi in 1008 A.D. to repel the invasion of Mahmud but nothing availed the Hindus
and their forces were utterly routed by the Sultan. Next, •Ganda sent an expedition
under the crown-prince, Vidyadhara, to punish Rajyapala of Kanauj for his
pusillanimous surrender to Mahmud about the end of 1018 A.D. The Pratihara
monarch was, of course, slain, but when the tidings reached Ghazni the Sultan was
so enraged that he forthwith marched against Nanda (Ganda) 1 to repress his
audacity. Thus, the opponents came face to face in H. 410— 1019 A.D. Just at the
psychological moment, however, the Chandela ruler became alarmed at the
intrepidity and strength of the Muslim hosts, whereupon under cover of night he c
fled with some of his baggage and equipments.’ 2 In H. 413 — X022 A.D. Mahmud
attacked the Candel territories for the second time. Having taken Gwalior in 1023
A.D. he invested Kalanjara. Again, Nanda or Ganda cowardly submitted to the
invader, who thereupon gave him back the conquered forts, and triumphantly
returned home with a large booty.
Klrtivarman was the next distinguished member of this dynasty. He revived the
power of the Chandelas, which had been eclipsed in the time of his predecessors
owing to the military activities of the Kalacuri kings, Garigeyadeva and Laksml-
karna. Klrtivarman himself was vanquished by the latter in the earlier part of his
reign, but it appears from inscriptions and the prologue to Krisna Misra’s
Vrabodha-Candrodaya, an allegorical play in honour of Visnu and the Vedanta
philosophy, that the Candel ruler eventually won a decided Victory over his mighty
Cedi rival.
Madanavarman was another notable figure, whose known dates range from 1129
to 1163 A.D. He claims to have defeated the “lord of Gurjara,” generally identified
with Siddharaja-Jayasimha of Gujarat (c. 1095- 1143 A.D.). An inscription, found at
Man (Jhansi district), further testifies that Madanavarman overcame the Cedi
monarch (perhaps Gaya-Karna); exterminated his Malava i.e., Paramara

17. 17
contemporary; and forced the “king of Kail,” probably identical with Vijayacandta
Gahadavala, “to pass his time in friendly behaviour.”
Paramardi, or Paramal of popular traditions, was the last prominent Candclla
sovereign. He ruled from circa 1165 A.D. to 1203. We learn from the Madanapur
inscription 2 and Cand’s R a so that he sustained a reverse in 1182-83 A.D. at the
hands of Prithvlraja Cauhan who occupied Mahoba and other fortresses in
Bundelkhand. But Paramardi escaped complete annihilation, and afterwards
recovered the lost ground. In 1203 A.D. he offered stubborn resistance to Qutb-ud-
dln Aibak during the siege of Kalanjara. Finding that the odds were altogether
against him, Paramardi capitulated, but he died before fulfilling any of the terms
imposed. His minister, Ajadcva, then took up the defence; he also had, however, to
surrender soon after. Qutb-ud-din next captured Mahoba, and put the subjugated
territory under the charge of a Muslim governor. The Chandelas were thus kid low,
although they lingered on as petty chieftains.until the sixteenth century.
Khajuraho Temples
Based on their geographical location, Khajuraho’s two dozen or so temples are
grouped into three areas: Eastern, Western and Southern. Kandariya, the largest,
most and most typical of the Khajuraho temples, is dedicated to Shiva. The main
shrine is exquisitely carved and features delicate details. Among the other temples
worth visiting are Chaunsat Yogini (the oldest surviving shrine), Devi Jagada
(temple dedicated to Kali), Chitragupta, Vishwanath, Lakshmana, Varaha and
Matangeswara temple.
The temples are spread over an area of six square kilometers. They are dedicated
to both Hindu deities and Jain figures. About six of these temples have Lord Shiva
as the main idol, eight are dedicated to Lord Vishnu, one each to Lord Ganesha
and the Sun God, while three are dedicated to Jain tirthankaras (saints). The largest
among these is the Kandariya Mahadeva Temple, dedicated to Lord Shiva. It is also
one of the four holy sites of Shiva worship, the other three being Kashi, Kedarnath
and Gaya.
According to UNESCO: “ Only about 20 temples remain; they fall into three distinct
groups and belong to two different religions – Hinduism and Jainism. They strike a
perfect balance between architecture and sculpture. The Temple of Kandariya is
decorated with a profusion of sculptures that are among the greatest masterpieces
of Indian art.” Some of the temples are deteriorating at an alarming pace due to
irrigation canals in the area that have raised groundwater levels, causing water to
rise through the stones by capillary action and deteriorating the stones.

18. 18
Sculptures at the Khajuraho Temples
The temples have several thousand statues and art works, with Kandarya Mahadeva
temple alone decorated with over 870. Some 10 percent of these iconographic
carvings contain sexual themes and various sexual poses. A common
misconception is that, since the old structures with carvings in Khajuraho are
temples, the carvings depict sex between deities; however the kama arts represent
diverse sexual expressions of different human beings. Core Hindu values are
expressed in multitude of ways. Even the Kama scenes, when seen in combination
of sculptures that precede and follow, depict the spiritual themes such as moksha.
In the words of Stella Kramrisch, This state which is “like a man and woman in close
embrace” is a symbol of moksa, final release or reunion of two principles, the
essence (Purusha) and the nature (Prakriti). [Source: Wikipedia]
Stella Kramrisch said: “There is iconographic symbolism embedded in the arts
displayed in Khajuraho temples. Core Hindu values are expressed in multitude of
ways. Even the Kama scenes, when seen in combination of sculptures that precede
and follow, depict the spiritual themes such as moksha. This state which is “like a
man and woman in close embrace” is a symbol of moksa, final release or reunion
of two principles, the essence (Purusha) and the nature (Prakriti).
The Khajuraho temples represent many forms of arts that flourished in medieval
Rajput kingdoms, including Prabodhacandrodaya, Karpuramanjari,
Viddhasalabhanjika and Kavyamimansa poems and dramas. In addition to the
sculptures believed to represent sexual practices there are many imaginary animals,
including the vyalas (hybrids of a lion, horse and many other animals). In South
India, vyalas face outward towards the person viewing the sculpture. At Khajuraho,
the vyalas face sideways and many scholars wonder why. Also at Khajuraho, the
vyalas appear ro have equal status with the gods and apsarases, the female spirit of
the clouds and water. This could possibly mean that the vyalas were just as
important as Hindu gods in the Chandella religion.
Erotic Sculptures at Khajuraho
The Khajuraho temples feature a variety of art work, of which 10 percent is sexual
or erotic art outside and inside the temples. Some of the temples that have two
layers of walls have small erotic carvings on the outside of the inner wall. Some
scholars suggest these to be tantric sexual practices. Other scholars state that the
erotic arts are part of Hindu tradition of treating kama as an essential and proper
part of human life, and its symbolic or explicit display is common in Hindu temples.
Over 90 percent of the art work at the temple is about daily life and symbolic
values in ancient Indian culture. The Khajuraho temples represent one expression

19. 19
of many forms of arts that flourished in Rajput kingdoms of India from the A.D. 8th
through 10th century.[Source: Wikipedia +]
James McConnachie, in his history of the Kamasutra, describes the sexual-themed
Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and
high breasted nymphs display their generously contoured and bejewelled bodies
on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the
surface of the stone, putting on make-up, washing their hair, playing games,
dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly
nymphs are serried ranks of griffins, guardian deities and, most notoriously,
extravagantly interlocked maithunas, or lovemaking couples."
Tantrism
According to UNESCO: “Greatly influenced by the Tantric school of thought, the
Chandela kings promoted various Tantric doctrines through royal monuments,
including temples. Sculptors of Khajuraho depicted all aspects of life. The society of
the time believed in dealing frankly and openly with all aspects of life, including
sex. Sex is important because Tantric cosmos is divided into the male and female
principle. Male principle has the form and potential, female has the energy.
According to Hindu and Tantric philosophy, one can not achieve anything without
the other, as they manifest themselves in all aspects of the universe. Nothing can
exist without their cooperation and coexistence. In accordance with ancient treaties
on architecture, erotic depictions were reserved for specific parts of the temples
only. The rest of the temple was profusely covered with other aspects of life,
secular and spiritual.” [Source: UNESCO]
"Tantric Age"

20. 20
A. Twelve-Armed Chakrasamvara and His Consort Vajravarahi, ca. 12th century, India (Bengal) or
Bangladesh
B. A stone Kālacakra Mandala at the Hiraṇyavarṇa Mahāvihāra, a Buddhist temple in Patan, Nepal built in
the 12th century.
From the 8th to the 14th century, Tantric traditions rose to prominence and flourished
throughout India and beyond. By the 10th century, the main elements of tantric practice
had reached maturity and were being practiced in Saiva and Buddhist contexts. This
period has been referred to as the "Tantric Age" by some scholars due to prevalence of
Tantra. Also by the 10th century, numerous tantric texts (variously called Agamas,
Samhitas and Tantras) had been written, particularly in Kashmir, Nepal and Benga By this
time, Tantric texts had also been translated into regional languages such as Tamil, and
Tantric practices had spread across South Asia. Tantra also spread into Tibet, Indonesia
and China. Gavin Flood describes this "Tantric age" as follows:
Tantrism has been so pervasive that all of Hinduism after the eleventh century, perhaps
with the exception of the vedic Srauta tradition, is influenced by it. All forms
of Saiva, Vaisnava and Smarta religion, even those forms which wanted to distance
themselves from Tantrism, absorbed elements derived from the Tantras.
Though the whole northern and Himalayan part of India was involved in the
development of tantra, Kashmir was a particularly important center, both Saiva and
Buddhist and numerous key tantric texts were written there according to Padoux.
According to Alexis Sanderson, the Śaiva Tantra traditions of medieval Kashmir were
mainly divided between the dualistic Śaiva Siddhanta and the non-dualist theology
found in Śakta lineages like the Trika, Krama and Kaula. The non-dualists generally
accepted and made use of sexual and transgressive practices, while the dualists mostly
rejected them.[148]
Saiva tantra was especially successful because it managed to forge
strong ties with South Asian kings who valued the power (shakti) of fierce deities like the
warrior goddess Durga as a way to increase their own royal power. These kings took
part in royal rituals led by Saiva "royal gurus" in which they were symbolically married to
tantric deities and thus became the earthly representative of male gods like Shiva. Saiva
tantra could also employ a variety of protection and destruction rituals which could be
used for the benefit of the kingdom and the king.[149]
Tantric Shaivism was adopted by
the kings of Kashmir, as well as by the Somavamshis of Odisha, the Kalachuris, and
the Chandelas of Jejakabhukti (in Bundelkhand). There is also evidence of state support
from the Cambodian Khmer Empire. As noted by Samuel, in spite of the increased
depiction of female goddesses, these tantric traditions all seemed to have been mostly
"male-directed and male-controlled."

21. 21
During the "Tantric Age", Buddhist Tantra was embraced by the Mahayana Buddhist
mainstream and was studied at the great universities such as Nalanda and Vikramashila,
from which it spread to Tibet and to the East Asian states of China, Korea, and Japan.
This new Tantric Buddhism was supported by the Pala Dynasty (8th–12th century) which
supported these centers of learning.[153]
The later Khmer kings and the
Indonesian Srivijaya kingdom also supported tantric Buddhism. According to Samuel,
while the sexual and transgressive practices were mostly undertaken in symbolic form
(or through visualization) in later Tibetan Buddhist monastic contexts, it seems that in
the eighth to tenth century Indian context, they were actually performed.
In the 10th and 11th centuries, both Shaiva and Buddhist tantra evolved into more tame,
philosophical, and liberation-oriented religions. This transformation saw a move from
external and transgressive rituals towards a more internalized yogic practice focused on
attaining spiritual insight. This recasting also made tantric religions much less open to
attack by other groups. In Shaivism, this development is often associated with the
Kashmiri master Abhinavagupta (c. 950 – 1016 CE) and his followers, as well the
movements which were influenced by their work, like the Sri Vidya tradition (which
spread as far as South India, and has been referred to as "high" tantra).
In Buddhism, this taming of tantra is associated with the adoption of tantra by Buddhist
monastics who sought to incorporate it within the Buddhist Mahayana scholastic
framework. Buddhist tantras were written down and scholars
like Abhayakaragupta wrote commentaries on them. Another important figure, the
Bengali teacher Atisha, wrote a treatise which placed tantra as the culmination of a
graduated Mahayana path to awakening, the Bodhipathapradīpa. In his view, one
needed to first begin practicing non-tantric Mahayana, and then later one might be
ready for tantra. This system became the model for tantric practice among some Tibetan
Buddhist schools, like the Gelug. In Tibet, the transgressive and sexual practices of tantra
became much less central and tantric practice was seen as suitable only for a small elite
group. New tantras continued to be composed during this later period as well, such as
the Kalachakra (c. 11th century), which seems to be concerned with converting
Buddhists and non-Buddhists alike, and uniting them together against Islam. The
Kalachakra teaches sexual yoga, but also warns not to introduce the practice of
ingesting impure substances to beginners, since this is only for advanced yogis. This
tantra also seems to want to minimize the impact of the transgressive practices, since it
advises tantrikas to outwardly follow the customs of their country.
Another influential development during this period was the codification of tantric yogic
techniques that would later become the separate movement known as Hatha Yoga.
According to James Mallinson, the original "source text" for Hatha Yoga is the Vajrayana
Buddhist Amṛtasiddhi (11th century CE) attributed to the mahasiddha Virupa. This text

22. 22
was later adopted by Saiva yogic traditions (such as the Naths) and is quoted in their
texts.
Another tradition of Hindu Tantra developed among the Vaishnavas, this was called
the Pāñcarātra Agama tradition. This tradition avoided the transgressive and sexual
elements that were embraced by the Saivas and the Buddhists.[124]
There is also a smaller
tantric tradition associated with Surya, the sun god. Jainism also seems to have
developed a substantial Tantra corpus based on the Saura tradition, with rituals based
on yakshas and yakshinis. However, this Jain tantrism was mainly used for pragmatic
purposes like protection, and was not used to attain liberation. Complete manuscripts of
these Jain tantras have not survived. The Jains also seem to have adopted some of the
subtle body practices of tantra, but not sexual yoga.
The Svetambara thinker Hemacandra (c. 1089–1172) discusses tantric practices
extensively, such as internal meditations on chakras, which betray Kaula and Nath
influences.
Important Temples at Khajuraho
Kandariya Mahadeva Temple is the tallest, the largest and the most stunning in
the Khajuraho complex. Built sometime during 1025-1050, with about 870
spectacular sculptures, it is considered to be the spiritual abode of Lord Shiva. It is
most popular for its ornate architecture, including statues of beautifully adorned
women. The structure has a shikhara (spire) about 31 meters high that depicts
Mount Kailash. This main spire is surrounded by 84 miniature spires (Urushringas).
Kandariya is most sexual and typical of the Khajuraho temples. The main shrine is
exquisitely carved and features delicate details. The temple houses a lingam
(phallic symbol honoring Shiva) made of marble in its sanctum sanctorum, with 646
statues dotting its boundary. Facing towards the east, the entrance of the temple
has a staircase and porch that have been adorned with garlands chiselled out of
solid single stone. It is believed that Raja Dhandadeva, a Chandela ruler, built this
temple.
Chitragupta Temple is located in the east direction and faces the rising sun. It is
the only temple dedicated to the Sun God and was constructed in the 11th century.
A 5-foot-tall idol of the deity sitting on a chariot driven by seven horses sits in the
temple. The walls of the temple are beautifully carved and give a glimpse of various
historical events. The prime attractions include an image of Lord Vishnu in the 11-
headed form on the south wall. Visitors are also left mesmerised by the intricate
carvings of dancing girls, elephant fights, processions and hunting scenes done on
the interior of the temple. The exterior of the temple is also beautiful and one can
find sculptures of apsaras (celestial nymphs), vyalas, mithunas and deities there.

23. 23
Moreover, more than 70 other figures have been carved on the balcony panels of
the temple. The doorways are also elaborately ornamented and portray a series of
three figures of the Sun God, similar to the one in the sanctum sanctorum. One can
also visit the three-storeyed stepped tank inside the premises. Called as chopra, it
was also constructed by the Chandela rulers.
Western Temples at Khajuraho
According to UNESCO: “The most important group of monuments is massed in the
western zone, not far from the archaeological museum, including the temples of
Varaha, Lakshmana, Matangeshwara, Kandariya, Mahadeva Chitragupta, Chopra
Tank, Parvati, Vishwanatha and Nandi. [Source: UNESCO]
“Yasovarman (AD 954) built the temple of Vishnu, now famous as Lakshmana
temple; this is an ornate and evolved example of its time proclaiming the prestige
of the Chandellas. The Visvanatha, Parsvanatha and Vaidyanatha temples belong to
the time of King Dhanga, the successor of Yasovarman. The Jagadambi,
Chitragupta, are noteworthy among the western group of royal temples of
Khajuraho. The largest and grandest temple of Khajuraho is the immortal Kandariya
Mahadeva which is attributed to King Ganda (1017-29).
Lakshman Temple (in the Western group of temples) is considered to be the
oldest and the most aesthetically pleasing. It was one of the first temples built by
the Chandela kings, and the patron of this temple is believed to be Yashovarman,
who gained control over areas in the Bundelkhand region of central India.
Yashovarman sought to build this temple to mark his rule over these territories.
However, he died before the construction was completed and his son, Dhanga,
took over the work and dedicated the temple in 954. The temple showcases the
trinity of Lord Brahma, Lord Vishnu and Lord Shiva. Built on a high platform, it is
made in a tiered format with intricately carved columns.
The main idol of the temple is an image of Lord Vishnu in a three-headed avatar
called Vaikuntha. It is placed in the inner chamber known as garba griha (sanctum
sanctorum), which is an architectural feature of most Hindu temples. The building
of the temple reflects a Nagara style of architecture, owing to the flat-roofed entry
porch called mandapa and a shrine called vimana. The shrine of Nagara temples
comprises a base platform and a superstructure called shikhara (spire).
Chaunsat Yogini (in the Western group of temples) is a composition of small hut-
like structures surrounding an open courtyard. Standing apart from all other
temples in the area, it was built in 875-900 and is a part of the Western group of
temples. The temple is dedicated to 64 female yoginis (female attendants) who are

24. 24
considered to be forms of the Mother Goddess. This temple is quite unique and is
the only one here that is built with local granite. Its architecture is quite simple and
has no ornamentation. The walls are almost bare and lack the characteristic
carvings of temples in Khajuraho. There are a total of 67 shrines in the temple
complex and the largest one is dedicated to Goddess Durga, who is presented in
the form of Mahishasura Mardini. Two shrines are for Maheshvari and Matrikas
Brahmani and the other 64 are dedicated to the yoginis. This temple is believed to
be the oldest yogini temple in India.
Eastern and Southern Temples at Khajuraho
Among the temples in the east and south groups are also comprise noteworthy
complexes (the temples of Ghantai, Parshvanath, Adinath, Shantinath, Dulhadeo,
Chaturbhuja. The four Jain temples lie among the Eastern group of temples. These
include the Adinath, Shantinath, Parsvanath and Ghantai temples, which were
constructed under the reign of the Chandela rulers.
The eastern group contains the Parsvanath temple, a large Jain structure noted for
the detailed sculptures on the northern outer wall. Other notable temples in this
group are the Ghantai and Adinath temples and the three Hindu temples of
Brahma, Javari and Vamana, the last of which is adorned with a variety of sensuous
sculptures. the southern group includes the two temples of Duladeo and
Chaturbhuj.
Parsvanath Temple (in the eastern group of Temples) is largest of the Jain
temples in Khajuraho. It is noted for its spectacular tiered construction and intricate
sculptures. It belongs to the Eastern group of temples and its architecture is quite
similar to that of the Hindu temples here. The temple is believed to have been
constructed in the 10th century during the rule of Dhangadeva (950-999) of the
Chandela dynasty. It was previously devoted to the first tirthankara (religious saint)
of the Jains, Adinath. However, in 1860, the image of Parsvanath was put in.
The temple attracts visitors for its intricate architecture and its walls depict the
images of elephants, sea nymphs and lions. Though it is a Jain temple, one can see
images of Hindu deities like Vaishnav as well, on its walls. The temple has some key
architectural features like a couple of axial projections at its two ends called the
ardh mandapa (the hall) to the east and a small shrine to the west called the garba
griha (sanctum sanctorum).
Dulhadev Temple (in the southern group of temples) was built by the Chandelas
in 1130, this temple is dedicated to Lord Shiva and houses a lingam (phallic symbol
honoring Shiva). Its architecture is quite fascinating and the temple has five small

25. 25
chambers and a closed hall. The finishing on the idols is beautiful and shows the
skill of the craftsmen of that time. The temple walls and ceilings boast heavily
intricate carvings and visitors are often left mesmerised by the stone-carved
images on the walls. Attractive figurines of apsaras (celestial nymph) and other
mythological figures also adorn its walls. Dulhadev is another name for Lord Shiva
in this region that refers to the lord as a 'dulha' or bridegroom. Historians consider
it to be one of the last temples built by the Chandelas.
Deor Kothar
Deor Kothar (200 kilometers east of Khajuraho) is a Buddhist site said to have been
built under the patronage of Mauryan king, Ashoka, and dates back to 3rd century
B.C. Stretching for almost 3 kilometers, the complex, which is believed to have once
been a bustling commercial town on the trade route called Dakshinapatha, was
discovered in 1982. Several structures were excavated here, including monasteries,
a water channel system, an ancient pathway, and 30 stone stupas, four brick stupas,
potsherds of black polished ware, which was the pottery of everyday use between
700 and 300 B.C. One of the pillars excavated here has an inscription that says it
was erected in the memory of Lord Buddha.
The architecture of Deor Kothar is quite interesting and the complex boasts four
stupas, the most ever found at a site of this period. The bricks used are of various
shapes such as a twirling lotus, a simple flower pot on a three-tiered pedestal (the
carving of which shows traces of early Buddhist art) and a conical lotus bud. These
can be seen on the railing posts of the largest brick stupa rising to a height of 30
feet.
The site was discovered by PK Mishra and Ajit Singh in 1982 and it was declared a
place of national importance by the Government of India in 1988. Today, it is being
preserved and conserved by the Archaeological Survey of India (ASI).
Panna and Panna National Park
Panna National Park (40 kilometers south Khajuraho) in central India harbors many
species of wildlife including tigers, sambar and chitral deer, porcupines, and
leopards and cover 200 square miles. It has a fairly large population of 30 to 40
sloth bears. It has a lot of humans. There are 15 villages within the park and 50 just
outside it. A number of villagers in the area of the park have been attacked by sloth
bears.
The park was once a raja’s hunting ground. There are a number of caves in par
whose walls are adorned with ancient paintings. The number of tigers in increasing.

26. 26
The tigers often roam outside the park and the effort to save them has included
efforts outside the park. Illegal sandstone mines that fragments the tiger’s habitat
and polluted the water in the park have been closed down. The rangers have
motorcycles and a troop carrier which has enabled them to battle poachers more
effectively
With the meandering Ken river and spectacular waterfalls, the national park attracts
both wildlife enthusiasts and adventure seekers. One can spot the gharial, a huge
reptile of the crocodile family found only in the Indian subcontinent, and a variety
of flora and fauna here. Spend a day or two here, and explore the park in a jeep or
on the back of an elephant. Earlier, the park was the hunting ground of the
erstwhile rulers of Panna, Bijawar and Chhatarpur states. The Panna National Park is
the 22nd Tiger Reserve of India.
Panna was the capital of Maharaja Chhatrasal’s kingdom in 17th century. The town,
meaning emerald, is a diamond mining center. Panna is famous for its huge
Palladian-style Pajgarth Palace.